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| | HOASM: From the 'Galant' to the 'Biedermayer' |
 | | Austrian church music of that period combines the new instrumental techniques with old-fashioned fugues in such crucial moments in the Mass as "Cum Sancto Spiritu in gloria Dei Patris, amen," the end of the Gloria; or "Et vitam venturi saeculi, amen," at the end of the Credo. |
 | | The "Dona nobis pacem" was also very often a fugue or double fugue, Later, the Viennese composer Leopold Hofmann became Cathedral Chapel Master of St. Stephen's, and was well known as a composer not only of symphonies and quartets but also of Masses, Mozart was to have had the job just before he died. |
 | | Church music was also composed and produced all over the Austrian empire: the great Benedictine monasteries, such as Melk, Kremsmünster, and Göttweig, each had their own boy's choir (connected with a school) and an orchestra, as well as a resident composer, who sometimes became quite famous. |
| www.hoasm.org /XIIC/XIICGalantToBiedermayer.html (1624 words) |
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